This body of work doubles as a stock taken of events bothering on the mysteries of existence, and the search for utopia, which raises the question of how and where to look.

Where to look my and may not be as energy sapping as how to look, however, if we share the belief with the art historian Bernard Berenson that, “you only see as much as you know,” then how to look becomes irrelevant “where” becomes the major consideration.
In the present circumstances, my primary concern is the search below the surface appearance and beyond, bringing forth, through surface construction, the jewel of discoveries, which point in the direction of genuine artistic process.

In constructing these soulful surfaces, in practice the phenomenon of “ruin and renewal” is engaged in relevance to the condition of the material, which, is used with profound passion. On the other hand, my condoned interest in the works of twentieth century constructivists of which, Kasimir Malenvich, Vladimir Tatlin, Antoine Pevsner, and Naum Gabo were the major actors and their philosophy that, “what we perceive with our five senses is not the only aspect of life and nature to be sung about; and that life and nature conceal an infinite variety of forces, depths, and aspect never seen and only faintly felt which have not less but more importance to be expressed and to be made more concretely felt through some kind of an image communicable not only to our reason, but to our immediate everyday perceptions and feelings of life and nature” (Constructivism – origins and evolution, 5, P.29), creates a point of departure for my configured images.

Hence, these images are ideologically deeply immersed in the reasons of order, where great attention is accorded precision in inventing the vehicle therein; mathematics and precision numerical relationships, merging imagination with calculation, chance; randomly marring shapes and forms together seeking contrast, harmony and rhythm, in agreement with Ovids statements that, “chance is always powerful. Let your hook be always cast; in the pool where you least expect it, there will be a fish”.

Furthermore, some inherent requirements of art such as constructive skill, selective observation and unitary vision are among the essential flavoring for this work. The result of this epitomizes formal, emotional and aesthetic considerations laced with spiritual qualities.

In addition to its organic qualities, this work also has the breathing quality of a soul considering the fact that, most if not all the pieces hang pretty well in all format. This in a sense adds value to the visual movement in responding to the pieces as they obey the never static attribute of the fourth dimension. Although, the pieces are frontal in orientation but, they have the sculptural strength of work in-the-round.

Also, there exist, an unbroken chain of qualities connecting the pieces to cement their relationship thereby ensuring that the whole exercise reflects a body of work. Consequently, what the pieces have in common outweighs that sets them apart.

With all that this wok has, it is certain that this effort will satisfy viewers’ visual and emotional thirst for renewed artistic awareness, and appreciation of the tiny flaws here and there, which, Robert Henri regards as “the record of the artist’s struggle.”

For me, art is a significant record of the depth of artist’s renewal of his active commitment to active creative call; the total sum of which undoubtedly translates into among others, worthy significant accomplishment. And design is progressive process or progress in process and inevitable change. I know there is tendency to be tempted to question my use of ‘artist’ and ‘art exhibition’ in this present context, but the fact is, designer is also an artist and in many writings referencing furniture designs, we find frequent use of the tags such as ‘sculptural furniture’, ‘functional art forms’, ‘furniture designed by artists’, ‘art inspired domestic objects’ and many more.

The challenges posed by working around product designs/functional objects are numerous; but not without the traces and tints of pleasure which enrich the maintenance of my heart-felt position in ensuring that I remain steadfast in my commitment to producing works that are undeniably mine. In fact, I must confess that, learning through doing has never been this productively rewarding and satisfying for me until now. I also want to share with you that some of these designs are defined through disappointments perceived on the scale of asset (not liability), and discovery.

It is also important for me to state that some of these delightful pieces evolved from either one failed or successful piece. This be as it may, never happened within a short easy span of time; just as Vidal Sasson rightly observed, “the only place where success comes before work is in a dictionary", while Joseph Loubert capped it by saying that, “genius begins great works; labour alone finishes them”. I have to baptize myself in the pool of problem solving, persevere as one problem solved is followed by others; waiting to be solved, “by courageously confronting obstacles and seeking solution”, Mary Stewart opined that, “the artist/designer can develop increasingly ambitious work”. Furthermore, she asserts, “for the inventive artist or designer, there are no ‘bad’ problems, only bad solution”.